Bob Gluck - Book Talk Schedule For “The Miles Davis ‘Lost’ Quintet and Other Revolutionary Ensembles”
Live radio interview with Joe Donahue: Thursday, March 31, 2016, 11:10am. Northeast Public Radio, WAMC "Writer's Almanac" during The Roundtable. Albany, NY: 90.3 FM, 1400 AM and other stations along the Hudson Valley and Western Massachusetts. Info & web stream: http://www.wamc.org/programs/roundtable Saratoga Springs, New York: Sunday, April 3, 2016, 4pm. Northshire Bookstore, 424 Broadway, Saratoga Springs, NY 12866. Info: (518) 682-4200 and web: http://www.northshire.com/event/saratoga-bob-gluck-miles-davis-lost-quintet-and-other-revolutionary-ensembles Live radio interview with Lofton A Emenari III: Tuesday, April 12 2016, 8pm Central. WHPK-FM Chicago 88.5, University of Chicago. About the book and new CD, "Infinite Spirit: Revisiting Music of the Mwandishi Band" (FMR Records). Live audio stream: http://www.whpk.org/stream/ Chicago: Saturday, April 16, 2016, 3pm. Book talk: "The Miles Davis 'Lost' Quintet and Other Revolutionary Ensembles" (University of Chicago Press). At Corbett vs. Dempsey (John Corbett's Gallery). 1120 N. Ashland Avenue, 3rd Fl, Chicago, Ilinois 60622 (in the Dusty Groove building in West Town, Ukrainian Village, between Thomas Street & Haddon Ave). web: http://www.corbettvsdempsey.com/cat/event/
from: Jim Eigo Jazz Promo Services 272 State Route 94 South #1, Warwick, NY 10990-3363 Skype: jazzpromo jim@jazzpromoservices.com www.jazzpromoservices.com
"An accomplished and passionate pianist in the most elusive tradition of avant-garde masters Cecil Taylor, Andrew Hill, McCoy Tyner, and Don Pullen. He's captured the magic of being at once sentimental and Space Pong crazy... [and] crafts a language of intense thinking, feeling, listening, and creating, mostly all at once." - Erik Lawrence, Chronogram (August 2008)
"Unsigned Musician of the Month" (June, 2009): ".. an engaging tapestry of living sound... Electric Brew [2007] is a welcome reminder of what magic can happen when rules are not so much broken, but taken out of the equation completely. Highly recommended." - Michael Gallant, Keyboard magazine's
After years of conservatory training, Bob Gluck's musical life dramatically changed after hearing Jimi Hendrix, Frank Zappa and Miles Davis' electric bands, early in high school. His musical work has evolved during the past decade to span several musical fields, among them jazz piano, live electronic musical performance using systems of his own design, multimedia installation, and musicology.
Bob's repertoire spans jazz performance both acoustic and with electronics and free improvisation, avant-garde concert music and music for electronic expansions of acoustical instruments, including the ram¹s horn, Disklavier (computer-assisted piano) and Turkish baglama saz. Bob Gluck is Associate Professor of Music and Director of the University at Albany Electronic Music Studio. He is an affiliate faculty member in the Judaic Studies Department and the College of Computing and Information.
Gluck is a pianist and composer. Bob Gluck's latest work includes a 2008 recording ("Sideways" on FMR) with the Bob Gluck Trio, featuring bassist Michael Bisio and drummer Dean Sharp; and solo performances of works for computer-assisted piano and electronics. 2008-2009 concerts will include both of these projects.
He is also writing a book about the early collaborations between jazz players and electronic musicians, especially Herbie Hancock's Mwandishi band with Patrick Gleeson, and the Richard Teitelbaum's duets with Anthony Braxton.
Bob Gluck has performed internationally, including at the Prague Spanish Synagogue (Prague, Czech Republic), Keele University (United Kingdom), Middlebury College, University of California at San Diego and Irvine, University of Ottawa, Lotus Music and Dance (New York City), Brown University, Deep Listening Space (Kingston, New York), Johns Hopkins University, The Flea Theater (New York City), Mobius Gallery (Boston), Dartmouth College, New Interfaces For Musical Expression (Montreal) and Bard College. Gluck's music on tape has been heard in Mexico City, Bucharest, Berlin and elsewhere. His work has been included in two "60x60" projects and on its 2004-2005 CD.
Gluck's multimedia installation works include 'Layered Histories' (2004), an immersive sound and video environment with Cynthia Rubin (shown at SIGGRAPH (Los Angeles), ACM Multimedia 2004 (New York City), Emmersive Gallery (Toronto), Prague Jewish Music (Czech Republic), ICMC (Miami), the Fine Family Gallery at the Marcus JCC, (Atlanta), Pixelerations (Providence RI), and the Joseph Slifka Center for Jewish Life at Yale University; and 'Sounds of a Community' (2001 - 2002), in which visitors trigger and shape pre-recorded sounds by interacting with seven electronic musical sculptures.
His recordings include 'Stories Heard and Retold' (1998), 'Electric Songs' (2003) 'Electric Brew' (2007) and 'Sideways' (2008). His work has been discussed in the Computer Music Journal, Moment, The Forward, Organized Sound, Reconstructionism Today, Hadassah Magazine and in Seth Rogovoy¹s 'The Essential Klezmer'. His essays about the international history of electronic music, beyond North America and Europe have been published in Computer Music Journal, Leonardo Music Journal, Organized Sound, Journal SEAMUS, Leonardo, Living Music Journal, The Reconstructionist, Tav+, the EMF Institute, and elsewhere on the web.
Gluck's musical training is from the Julliard, Manhattan, and Crane schools of Music, the State University of New York at Albany (BA, 1977) and Rensselaer Polytechnic Institute (MFA, 2001). His primary teacher of piano was Regina Rubinoff, first in the Juilliard Preparatory Division).
He is also a rabbi (a 1989 graduate of the Reconstructionist Rabbinical College) and he holds a Master's in Hebrew Letters from the RRC (1989, and a Master's in Social Work from Yeshiva University's Wurzweiler School of Social Work (1984).
Gluck also serves as Associate Director, Publications, of the Electronic Music Foundation and he is Executive Editor (along with Joel Chadabe) of the EMF Institute, a web-based virtual museum documenting the history of the field. He has held various senior leadership positions in the Jewish Reconstructionist movement.
Bob Gluck “Something Quiet” (FMR Records FMR CD 294) Street Date January 1, 2011
Bob Gluck-piano, Joe Giardullo-soprano saxophone, Christopher Dean Sullivan-Bass http://www.electricsongs.com / http://www.fmr-records.com/
Live Review for NEIL ROLNICK’s Le Poisson Rouge appearance featuring Bob Gluck:
“Faith,” a free-spirited concerto for piano and computer, was composed for Bob Gluck, a rabbi who gave up his pulpit and become an accomplished jazz pianist. Mr. Gluck performed it with virtuosic fluidity and maintained a lively give-and-take with Mr. Rolnick’s tactile, almost orchestral computer part.
ALLAN KOZINN New York Times (January 13, 2011)
What The Press Is Saying About “Something Quiet”
CD Review:
By Karl Ackermann All About Jazz
Thoroughly explaining the Julliard-trained Bob Gluck would be an exhaustive analysis. An accomplished composer of electronic music, a Rabbi, an educator and historical writer, he ventured deeper into jazz with Sideways (FMR Records 2008). Only Gluck himself remains from that recording's trio, a customary piano trio configuration but with Gluck's various synthesizers included. Something Quiet presents saxophone and bass to compliment Gluck's piano on a solely acoustic outing. It is a highly original and brilliantly creative collection of free jazz and somewhat more ordered modern jazz.
From the set's opener, “Waterway,” it is apparent that Gluck's approach is to accentuate melodic textures rather than musical lines. His playing style is full of inner mechanics that quietly sparkle and then dramatically shatter. Tension is a critical factor throughout the piece. Saxophonist Joe Giardullo tackles the challenging task of playing lines along the full range of the soprano. Bassist Christopher Dean Sullivan plays with a natural looseness, easily adapting to the great variety of prevailing directions of the tune. Herbie Hancock's “Dolphin Dance” follows; the only song not written by Gluck. A departure from all-out free style, it has a more structured chord progression within its improvisational approach.
”October Song,” like its namesake month, is full of mercurial changes. At some points there are preset chords; at others, the music is free of harmonic limitations. Giardullo's lines alternately bounce and flow, but always stay connected to the main theme. Similarly, Gluck employs unconventional organization throughout the piece, giving it the consideration that would be applied to a classical movement. “Going Away” is a bit of improvised melancholy that is reminiscent of Chick Corea's ability to create tranquility in free form environment back in the days of A.R.C. (ECM, 1970). The remaining three tracks demonstrate more of Gluck's unpredictable compositional, each containing elements of beautifully melodic music and almost vehement force, seamlessly layered and luminously performed.
As a composer and player, Gluck ranks with the likes of Andrew Hill and Cecil Taylor. The model for Something Quiet incorporates structure, power and the lack of restrictions. Without alienating traditionalists, Gluck extends the range of sounds and broadens the scope of compositions, but not to the extent of being atonal. Like the best free jazz, it can only be “free” to a certain degree. The role of each player needs to intersect, as well as possessing the flexibility to break from convention. Something Quiet is completely original, artistically spontaneous, and intellectually challenging.
CD Review
By Doug Simpson Audiophile Audition
Something sometimes quiet but certainly not restrained or inhibited.
Bob Gluck has had an intriguing arc leading to his first entirely acoustic effort, the trio release Something Quiet. Gluck may be best known for electronic realizations combining avant-garde inclinations with his interest in electric jazz (Miles Davis, Herbie Hancock and Weather Report are some of his influences) as well as progressive jazz (Ornette Coleman and Keith Jarrett are two other inspirations). During the past decade Gluck returned to piano while continuing to fuse electronics into his aesthetic.
On his new 67-minute excursion Gluck omits electronics to focus on his original acoustic music while showing his abiding attraction to abstract jazz with a unique trio approach: Gluck on acoustic piano, Joe Giardullo on soprano saxophone and Christopher Dean Sullivan on standup bass; as well as a broad stylistic scheme that merges chamber jazz with tempo changes, differing tonalities, varying volume and a musical tapestry where anything can and often does happen.
The threesome excises expectations on “Waterway,” a reinterpretation of a tune Gluck introduced on his previous album, Sideways. The extended piece begins with Gluck’s soft painterly piano notes with a hint of dissonance similar to Cecil Taylor’s harmonic maneuvers. Giardullo’s soprano sax enters to provide a lyrical pattern that becomes a solid polished layer that Gluck and Sullivan – who undertakes a brief but potent bass spotlight – use as a base for their shifts in phrases, improvisations and free jazz designs. The trio also tackles the title track from Sideways, offering a more angular rendering than Gluck formerly presented. The new arrangement is a conduit of contrasts: Gluck and Giardullo commence with a melodic duet aided by Sullivan’s single bass lines. Before long, piano and sax head off into almost opposite directions, with Sullivan often the only sonic connection between Gluck and Giardullo’s contrary courses.
Gluck’s aquatic framework carries on with a reharmonized version of Hancock’s “Dolphin Dance,” the sole cover, done as a bass/piano duet. This rendition has a subtle shape that reinforces Hancock’s original objective while including chordal and melodic adaptations that deliver a distinct edge to Gluck’s translation. While Gluck is in the limelight most of the time, Sullivan supports with underpinned emotive interaction.
“Still Waters,” the longest track, takes a separate but parallel path to “Waterway,” with Giardullo again contributing strong melodic statements while Gluck and Sullivan carve out rhythmically individual moments that actively diverge in volume, tempo and harmonics.
The most varied pieces are “October Song,” prompted by Hancock’s “Sleeping Giant,” and “Lifeline.” Like Gluck’s other material, “October Song” opens peacefully but rapidly intensifies, hammered along by Gluck’s percussive piano changes suggestive of Don Pullen’s dense solo fluctuations. Just as quickly the work moves back to a lyrical development that initiates a narrative attribute brought forward at times by piano, sax or bass, each player effortlessly adjusting from accompanist to soloist and back. This expansive improvisational tactic is echoed on the concluding “Lifeline,” which is episodically written to emphasis mood alterations, modifying rhythmic motifs and both pensive and dramatic ideas.
Some jazz fans prefer listening to music that is familiar and recognizable. With Something Quiet, Gluck delights in surprise, uninhibited structures and thoroughly modernistic art that can be difficult for those critical of free or avant-garde jazz but is tailor-made for adventurous ears.
CD Review
BY Michael 'Jazzofonik' Edwards Pianist Bob Gluck has assembled a strong trio (Christopher Dean Sullivan on bass and Joe Giardullo on soprano sax) for this, a gently insistent and compelling collection for which the term "rewards repeated listenings" is definitely apt. The sound is potent yet expansive and open-ended. Beginning with the crystalline cascade of "Waterways" the listening experience is quite broad. On song after song, notably the by turns haunting and uplifting "October Song" Gluck & Co. keep the listener delightfully off-balance; tinkling sequences give way to percussive piano runs, with the plaintive wail of the soprano both counterpoint and accompaniment. This is music for those who want a little more - heck a lot more - than the comfort of familiar melodies and chord changes. Gluck recognizes that dissonance - applied judiciously - can result in an illuminating musical experience, given the presence of excellent and committed players.
Live Review forNEIL ROLNICK’sLe Poisson Rouge appearance featuring Bob Gluck:
“Faith,” a free-spirited concerto for piano and computer, was composed for Bob Gluck, a rabbi who gave up his pulpit and become an accomplishedjazz pianist. Mr. Gluck performed it with virtuosic fluidity and maintained a lively give-and-take with Mr. Rolnick’s tactile, almost orchestral computer part. ALLAN KOZINNNew York Times (January 13, 2011)
What The Press Is Saying About “Something Quiet”
CD Review:By Karl AckermannAll About Jazz Thoroughly explaining the Julliard-trained Bob Gluck would be an exhaustive analysis. An accomplished composer of electronic music, a Rabbi, an educator and historical writer, he ventured deeper into jazz with Sideways(FMR Records 2008).
Only Gluck himself remains from that recording's trio, a customarypiano trioconfiguration but with Gluck's various synthesizers included. Something Quietpresents saxophone and bass to compliment Gluck's piano on a solely acoustic outing. It is a highly original and brilliantly creative collection of free jazz and somewhat more ordered modern jazz.
From the set's opener, “Waterway,” it is apparent that Gluck's approach is to accentuate melodic textures rather than musical lines. His playing style is full of inner mechanics that quietly sparkle and then dramatically shatter. Tension is a critical factor throughout the piece. SaxophonistJoe Giardullotackles the challenging task of playing lines along the full range of the soprano.
BassistChristopher Dean Sullivanplays with a natural looseness, easily adapting to the great variety of prevailing directions of the tune.Herbie Hancock's “Dolphin Dance” follows; the only song not written by Gluck. A departure from all-out free style, it has a more structuredchord progressionwithin its improvisational approach.
”October Song,” like its namesake month, is full of mercurial changes. At some points there are preset chords; at others, the music is free of harmonic limitations. Giardullo's lines alternately bounce and flow, but always stay connected to the main theme. Similarly, Gluck employs unconventional organization throughout the piece, giving it the consideration that would be applied to a classical movement.
“Going Away” is a bit of improvised melancholy that is reminiscent ofChick Corea's ability to create tranquility in free form environment back in the days ofA.R.C. (ECM, 1970). The remaining three tracks demonstrate more of Gluck's unpredictable compositional, each containing elements of beautifullymelodic musicand almost vehement force, seamlessly layered and luminously performed.
As a composer and player, Gluck ranks with the likes of Andrew Hill and Cecil Taylor. The model for Something Quiet incorporates structure, power and the lack of restrictions. Without alienating traditionalists, Gluck extends the range of sounds and broadens the scope of compositions, but not to the extent of being atonal.
Like the best free jazz, it can only be “free” to a certain degree. The role of each player needs to intersect, as well as possessing the flexibility to break from convention. Something Quiet is completely original, artistically spontaneous, and intellectually challenging.
CD Review:By Doug Simpson Audiophile Audition Something sometimes quiet but certainly not restrained or inhibited.
Bob Gluck has had an intriguing arc leading to his first entirely acoustic effort, the trio releaseSomething Quiet. Gluck may be best known for electronic realizations combining avant-garde inclinations with his interest in electric jazz (Miles Davis, Herbie Hancock and Weather Report are some of his influences) as well as progressive jazz (Ornette ColemanandKeith Jarrettare two other inspirations). During the past decade Gluck returned to piano while continuing to fuse electronics into his aesthetic.
On his new 67-minute excursion Gluck omits electronics to focus on hisoriginal acoustic musicwhile showing his abiding attraction to abstract jazz with a unique trio approach: Gluck on acoustic piano, Joe Giardullo on soprano saxophone and Christopher Dean Sullivan on standup bass; as well as a broad stylistic scheme that mergeschamber jazzwith tempo changes, differing tonalities, varying volume and a musical tapestry where anything can and often does happen.
The threesome excises expectations on “Waterway,” a reinterpretation of a tune Gluck introduced on his previous album, Sideways. The extended piece begins with Gluck’s soft painterlypiano noteswith a hint of dissonance similar to Cecil Taylor’s harmonic maneuvers. Giardullo’s soprano sax enters to provide a lyrical pattern that becomes a solid polished layer that Gluck and Sullivan – who undertakes a brief but potent bass spotlight – use as a base for their shifts in phrases, improvisations and free jazz designs.
The trio also tackles the title track from Sideways, offering a more angular rendering than Gluck formerly presented. The new arrangement is a conduit of contrasts: Gluck and Giardullo commence with a melodic duet aided by Sullivan’s single bass lines. Before long, piano and sax head off into almost opposite directions, with Sullivan often the only sonic connection between Gluck and Giardullo’s contrary courses.
Gluck’s aquatic framework carries on with a reharmonized version of Hancock’s “Dolphin Dance,” the sole cover, done as a bass/piano duet. This rendition has a subtle shape that reinforces Hancock’s original objective while including chordal and melodic adaptations that deliver a distinct edge to Gluck’s translation. While Gluck is in the limelight most of the time, Sullivan supports with underpinned emotive interaction.
“Still Waters,” the longest track, takes a separate but parallel path to “Waterway,” with Giardullo again contributing strong melodic statements while Gluck and Sullivan carve out rhythmically individual moments that actively diverge in volume, tempo and harmonics.
The most varied pieces are “October Song,” prompted by Hancock’s “Sleeping Giant,” and “Lifeline.” Like Gluck’s other material, “October Song” opens peacefully but rapidly intensifies, hammered along by Gluck’s percussive piano changes suggestive of Don Pullen’s dense solo fluctuations.
Just as quickly the work moves back to a lyrical development that initiates a narrative attribute brought forward at times by piano, sax or bass, each player effortlessly adjusting from accompanist to soloist and back. This expansive improvisational tactic is echoed on the concluding “Lifeline,” which is episodically written to emphasis mood alterations, modifying rhythmic motifs and both pensive and dramatic ideas.
Some jazz fans prefer listening to music that is familiar and recognizable. WithSomething Quiet,Gluck delights in surprise, uninhibited structures and thoroughly modernistic art that can be difficult for those critical of free oravant-garde jazzbut is tailor-made for adventurous ears. CD Review: BY Michael 'Jazzofonik' Edwards Pianist Bob Gluck has assembled a strong trio (Christopher Dean Sullivan on bass and Joe Giardullo on soprano sax) for this, a gently insistent and compelling collection for which the term "rewards repeated listenings" is definitely apt. The sound is potent yet expansive and open-ended. Beginning with the crystalline cascade of "Waterways" the listening experience is quite broad.
On song after song, notably the by turns haunting and uplifting "October Song" Gluck & Co. keep the listener delightfully off-balance; tinkling sequences give way to percussive piano runs, with the plaintive wail of the soprano both counterpoint and accompaniment. This is music for those who want a little more - heck a lot more - than the comfort of familiar melodies and chord changes. Gluck recognizes that dissonance - applied judiciously - can result in an illuminating musical experience, given the presence of excellent and committed players.
For Interviews, Photos and Promos Contact:
Jim Eigo Jazz Promo Services T:845-986-1677E-Mail:jazzpromo@earthlink.net
"An accomplished and passionate pianist in the most elusive tradition of avant-garde masters Cecil Taylor, Andrew Hill, McCoy Tyner, and Don Pullen. He's captured the magic of being at once sentimental and Space Pong crazy... [and] crafts a language of intense thinking, feeling, listening, and creating, mostly all at once." - Erik Lawrence, Chronogram (August 2008)
Keyboard magazine's "Unsigned Musician of the Month" (June, 2009): ".. an engaging tapestry of living sound... Electric Brew [2007] is a welcome reminder of what magic can happen when rules are not so much broken, but taken out of the equation completely. Highly recommended." - Michael Gallant
After years of conservatory training, Bob Gluck's musical life dramatically changed after hearing Jimi Hendrix, Frank Zappa and Miles Davis' electric bands, early in high school. His musical work has evolved during the past decade to span several musical fields, among them jazz piano, live electronic musical performance using systems of his own design, multimedia installation, and musicology.
Bob's repertoire spans jazz performance both acoustic and with electronics and free improvisation, avant-garde concert music and music for electronic expansions of acoustical instruments, including the ram¹s horn, Disklavier (computer-assisted piano) and Turkish baglama saz. Bob Gluck is Associate Professor of Music and Director of the University at Albany Electronic Music Studio. He is an affiliate faculty member in the Judaic Studies Department and the College of Computing and Information. Gluck is a pianist and composer.
Bob Gluck's latest work includes a 2008 recording ("Sideways" on FMR) with the Bob Gluck Trio, featuring bassist Michael Bisio and drummer Dean Sharp; and solo performances of works for computer-assisted piano and electronics. 2008-2009 concerts will include both of these projects. He is also writing a book about the early collaborations between jazz players and electronic musicians, especially Herbie Hancock's Mwandishi band with Patrick Gleeson, and the Richard Teitelbaum's duets with Anthony Braxton.
Bob Gluck has performed internationally, including at the Prague Spanish Synagogue (Prague, Czech Republic), Keele University (United Kingdom), Middlebury College, University of California at San Diego and Irvine, University of Ottawa, Lotus Music and Dance (New York City), Brown University, Deep Listening Space (Kingston, New York), Johns Hopkins University, The Flea Theater (New York City), Mobius Gallery (Boston), Dartmouth College, New Interfaces For Musical Expression (Montreal) and Bard College. Gluck's music on tape has been heard in Mexico City, Bucharest, Berlin and elsewhere. His work has been included in two "60x60" projects and on its 2004-2005 CD.
Gluck's multimedia installation works include 'Layered Histories' (2004), an immersive sound and video environment with Cynthia Rubin (shown at SIGGRAPH (Los Angeles), ACM Multimedia 2004 (New York City), Emmersive Gallery (Toronto), Prague Jewish Music (Czech Republic), ICMC (Miami), the Fine Family Gallery at the Marcus JCC, (Atlanta), Pixelerations (Providence RI), and the Joseph Slifka Center for Jewish Life at Yale University; and 'Sounds of a Community' (2001 - 2002), in which visitors trigger and shape pre-recorded sounds by interacting with seven electronic musical sculptures.
His recordings include 'Stories Heard and Retold' (1998), 'Electric Songs' (2003) 'Electric Brew' (2007) and 'Sideways' (2008). His work has been discussed in the Computer Music Journal, Moment, The Forward, Organized Sound, Reconstructionism Today, Hadassah Magazine and in Seth Rogovoy¹s 'The Essential Klezmer'. His essays about the international history of electronic music, beyond North America and Europe have been published in Computer Music Journal, Leonardo Music Journal, Organized Sound, Journal SEAMUS, Leonardo, Living Music Journal, The Reconstructionist, Tav+, the EMF Institute, and elsewhere on the web.
Gluck's musical training is from the Julliard, Manhattan, and Crane schools of Music, the State University of New York at Albany (BA, 1977) and Rensselaer Polytechnic Institute (MFA, 2001). His primary teacher of piano was Regina Rubinoff, first in the Juilliard Preparatory Division). He is also a rabbi (a 1989 graduate of the Reconstructionist Rabbinical College) and he holds a Master's in Hebrew Letters from the RRC (1989, and a Master's in Social Work from Yeshiva University's Wurzweiler School of Social Work (1984).
Gluck also serves as Associate Director, Publications, of the Electronic Music Foundation and he is Executive Editor (along with Joel Chadabe) of the EMF Institute, a web-based virtual museum documenting the history ofthe field. He has held various senior leadership positions in the Jewish Reconstructionist movement.
Bob Gluck Trio performs 'Waterway' (Gluck, 2007) at Justin's in Albany, New York, October 11, 2008. Bob Gluck (piano), Michael Bisio (bass) and Dean Sharp (drums). The tune is included on the Trio's CD 'Sideways' (FMR, 2008).
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